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Reece Jordan

Reece Jordan


Total Article : 200

About Me:18-year-old sixth form student, studying English Literature, History and Government and Politics. My articles will broadly cover topics from the current affairs of politics to reviews of books and albums, as well as adding my own creative pieces, whether it be short fiction or general opinion.

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Kids See Ghosts Self-Titled Album Review

Kids See Ghosts Self-Titled Album Review

A week after his polarising album ye, an LP which many people thought to be lacklustre and rushed, Kanye’s album, along with his long-term collaborator Kid Cudi, Kids See Ghosts had a lot riding on it. Not least because Kanye had set a high artistic watermark with Pusha T’s Daytona two weeks earlier, and the fruits of both his and Cudi’s earlier effort only increased the anticipation. What has ensued is a forward-thinking, psychedelic thriller of an album, which is sure to be one of the highlights of the year.


Feel The Love ft. Pusha T


The first track on the album begins with the echoed chants of Kid Cudi proclaiming how he can ‘still feel the love’. But this is not some ode to his and Kanye’s adoring fans, but more so an anthem of self-assurance. Pusha T brags ‘we not worried ‘bout no other ni**as, we them other ni**as’ with a sinister synth lead in the back. The song almost has a threatening tone to it, which is only amplified by Kanye crashing in with the maniacal ra-ka-ka-kas of gun-shots with insane drums. Take note that this not a ‘poopity-scoopity-woop-dee-woop’ affair, but brash, brilliant and exciting. A very grand entrance.




Next comes a peculiar fusion of western music and hip-hop. Fans of Kid Cudi’s earlier work will greet the return of his signature croon with open arms. With Cudi sounding this good, one can only imagine what sort of headspace he was in when putting out the awful Speedin Bullet to Heaven. The track ends with a sort of mini guitar interlude – it doesn’t add terribly much to the track but is a welcomed addition.


4th Dimension ft. Louis Prima


For those of us (including myself) who questioned Kanye’s producing ability and sampling in his recent projects must surely be silenced by this track. Putting his hand deep, deep into the crate Kanye West blows off the dust and, with a grin, notices he has found a 1930s Christmas tune by Louis Prima. Only producers in Kanye’s calibre could ever think to flip a tune like this to create such a hard-hitting, almost demonic tune about sex. The drum and bass are disgusting and accentuate Kanye’s tongue-in-cheek lyrics (‘she said I’m in the wrong hole I said I’m lost uh-uh’). Kanye doesn’t quite steal the show, though. Cudi’s flow goes perfectly with the beat, nonchalant and self-sure. I suppose that’s what makes this album so enjoyable to listen to.  Despite this very much being the month of Kanye, what with him releasing his own album as well as Pusha T’s, Nas, and Teyana Taylor’s, yet this still feels very much like a collaborative album. Cudi, as well as Kanye, shine – each pushing each other to their limits. 


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